“I worked at McDonald’s and I spent the money I earned at McDonald’s to get my abortion. I was only fifteen and the person who got me pregnant did not want to give me any money. I was $40 short, so I had my drug dealer call him and threaten him, so he gave me the last $40.

I really credit it as something that changed my life because I got a job, I took care of my business, and I moved on. And I’m not one of those people who’d have looked back and been like, Oh, that kid would be 30 right now… I don’t think, Oh, I really regret it… Maybe that’s a fucked-up thing to say but, I don’t regret it at all, number one, and number two, it was one of the best things that happened to me. Not actually being on the table and having it done, but feeling like I was responsible for my own life and realizing that when I made mistakes, there were consequences and that I could take care of those consequences. I could make mistakes and I could fix them. And live with them.”

I’m looking at my notes now and thinking of Joan Didion’s essay “On Keeping a Notebook.”

There’s a lot of fragmentary descriptions of scenes, most of which do not describe sounds: “excessive fringe,” “seagull flying above Joanna Newsom,” “colored studs up his earlobe,” “girls kissing, both with short haircuts in fluorescent orange shirts with black and white roses,” “fedoras,” “lots of pot smoke,” “I’m not a fucking hipster,” “moon in phases,” “clouds a dust pink,” and “shaking bass.”

“I think there are a few people in my life, my little brother being one of them, who no matter how we spend the day, the day is better for having spent it with him. We could go to the DMV, and he’s just an astute, hilarious dude who can provide color commentary for the most mundane activity, and make that day feel special and important. That kind of narrative voice has always been the most compelling part of a writer.”

My instinct, everyone’s instinct, is to start writing new songs, but it was really important for me this time to take a step back and say, “We made this thing that we’re really proud of, and we need to give it the attention it deserves.”

The Rumpus Interview With Karl Briedrick Of Speck Mountain

“We tried to be writers in Brooklyn. We hosted a reading series that was written-up in the places you’d want your little poetry reading series to be written-up, made hand-bound poetry chapbooks and a literary magazine with an excruciatingly DIY screen-printed cover. We were living the Brooklyn life: downing dirty martinis and whiskeys to close the bar at 4 a.m., sleeping until 1 the next day and nursing hangovers with greasy BLTs and omelets of pure gluttony, then off to another reading, another show, another museum opening, then Monday morning and the subway ride into Midtown, SoHo, Union Square (there were so many entry level jobs) not really making enough to pay rent.”
Diamonds And Rust #1: Nostalgia, Form And Noise by Katy Henriksen, The Rumpus's Music Editor.